[a lugubrious academic exposition by one I. Gusti Agung Oka, 1972 ]
[translation by Johann, Immortal Sinner]

The origin of the word Swastika dates back to the word ‘Su’, meaning ‘well’ or ‘thriving’. ‘Asti’ is derived from the Sanskrit ‘as’, which can be interpreted as ‘being’; while the suffix ‘ka’ is commonly used to convert an adjective into a noun.

When combined to form the term ‘Swastika’, these three words generate an entirely new meaning: a state of well-being. In fact, the terminology (and the image of the Swastika itself) were featured in various ancient literature, signifying ‘being in a state of joy and happiness’, ‘safe’, ‘thriving’.

Various archeological excavations revealed that the Swastika originated in Asia, migrating to Western Europe during the Bronze age – a proposition that not only is highlighted by Professor Wilson in his account on the Swastika, but also reinforced by stressing that the Swastika’s reach extended as far as the continent of America.

It is safe to summarize therefore, that image and terminology of Swastika have been in conscious existence for centuries – long before the birth of Buddha. It symbolizes spiritual joy and happiness in religious situations in India, China, and some other Asian countries.

Other explanations for the Swastika terminology and image point to the same meaning: In the dictionary of Kawi (ancient Java) by Prof. Drs. S. Wojowasito, Swastika is described as ‘prosperity’ and ‘happiness’.

A quote by Swami Ajaranda in the book “The Word and The Cross in Ancient India”, mentions that

“Originally the form of Swastika was two lines crossing each other, but afterwards it was shaped like:”

“The word Swastika had been in existence in the Sanskrit language long before Buddha was born. And it was used as a religions emblem in India and China at least ten centuries before the Christian era.”

Based on the above explanation, we may deduce that the cross of the Christian belief that represents the crucifixion of Jesus Christ of Nazareth is derived from the original two-line Swastika.

In Bali, the same shape of cross is referred to as “dove palm”, as it resembles the profile of dove’s palm. Historically it was used to fend off dangers, particularly epidemic diseases and animal bites.

Meanwhile, in India the Swastika was employed to facilitate illiterate people communicate, as is also explained in “The Word and The Cross in Ancient India” by Swami Ajarananda.

“In the Sanskrit grammar of Panini written at least 400 B.C., Swastika or Cross is described as one of the ancient signs for marking cattle, and even today cattle and sheep are marked with a Cross by the illiterate classes of India.”

The practice is undertaken with the intent of shielding the cattle from diseases and illnesses.

The ancient Greek referred to the Swastika as the Greek (Latin?) word of Gammadion, which is made up of 4 Latin letters of Gamma. Combined, the four letters of Gamma create a symbol not unlike the Swastika – hence the name Gammadion.

In Sanskrit alphabets, consonants start with letter ‘k”, which is written as “+” to convey “safety”. This is evidently found in various literatures of Brahmi and in the valley on the bank of Sindu River.

Similarly, in the hieroglyph of ancient Egypt, the “+” sign can be interpreted in variety of ways. When tips of the four stems that make up the “+” sign are connected to each other to form a circle, the sign is said to exert divine potentiality that possesses protective power. Divine Gods of Ra, Ammon Ra or Re embrace the Swastika as a divine symbol that brings protection and joy to mankind. In view of that, ancient Egyptians deliberately tattooed the Swastika image into their skins, in an attempt to exert a pull on its protective power. Furthermore, murals of Swastika adored the tombs surrounding the Thebe River, signifying gratitude for the prosperity granted to ancient Egypt.

In religious situations, the Swastika assumes the role of a visual tool that cements the life within a religious bond, inspiring the supremacy of Ida Hyang Widdhi Wasa (God the Almighty) and keeping a balanced interaction between man and law of nature (Cakra Manggilingan).

The Cakra Manggilingan itself centers on the deified aspiration that generates belief in serenity and happiness, as bound by spiritual law.

It was once said that misuse of the Swastika that condemns the deified aspiration and spiritual law is destined for annihilation. Which is likely the superstitious explanation for Hitler’s ultimate demise from abusive use of the Swastika beginning in 1919; Hitler employed the image in an altered, tilted position.

In China, the Swastika morphed into Yin and Yang, the infamous, proportional black-and-white circle that is believed to control the balance of positive and negative energies.

According to S.Saripin in his book Sedjarah Kesenian Indonesia, ancient Indonesian art is of monumental and symbolic in nature. Historically, the people of Indonesia were known to stack gigantic stones inscribed with symbolic images to build their houses, of which the facades displayed the Swastika to bring on joy and happiness and to fend off bad luck.

Such practice is found in the Temple of Borobudur, which when viewed overhead brings on the shape of the Swastika. Buddha himself employed the Swastika to a great extent, as noted by Swami Ajarananda in his book:

“It was found in the footprints of Buddha in Buddhistic temples. In the Buddhistic inscriptions and coin the Swastika or cross very often occurs.”

In view of that, the infamous Englishman Sir Thomas Stanford Raffles who spent not less than 20 years in the island of Java, wrote:

“Java received her civilization and art directly from India. Out of the six steps of the most ancient prehistoric temples in Java, three are in the form of a cross or Swastika”

Likewise, the Swastika was prominently observable in many temples of Bali. In fact, the Hindi Balinese situated major building blocks of their houses by following the pattern of the four stems of the Swastika.

Swastika signifies and strengthens the belief and faith in the supreme power of God the Almighty. 

“It is the symbol of the power that erases, sustains, end destroys the world. The whole world proceeds from OM, and is in the end absorbed in OM.”

Utpatti or the power to create is visualized with letter ‘a’ and pronounced nasally as ‘ang’ – a manifestation of God as Brahma. The power to maintain is visualized with letter ‘u’ and pronounced nasally as ‘ung’ – a manifestation of God as Wisnu. The power to destroy is visualized with letter ‘m’ and pronounced nasally as ‘mang’ – a manifestation of God as Siwa.

A.U.M. (ang, um, mang) is a trilogy with magical power that maintains peace and serenity. From a different vantage point, the trilogy is the equivalent of Wijaksara Panca Brahma and Pancaksara, which can be visualized in the original two-line shape of the Swastika. On each tip of its four stems resides five Gods: Sanghyang Sadhya on the east, Sanghyang Bamadewa on the south, Sanghyang Tatpurusa on the west, Sanghyang Agora on the north, and Sanghyang Isana on the center.

When we draw a straight line to the right of each tip, we will come up with the exact image of the Swastika as we know it today and four more stems of which the tip is occupied by Gods of Maheswara on the southeast, Rudra on the southwest, Sangkara on the northwest, and Shambu on the northeast. This symbol represents the evolution of the universe, which is the result of the integration of Purusa (the positive energy or Yang) and Prakerti (the negative energy or Yin).

A more observable result of the evolution is found in our everyday life: Fundamental characters of spiritual (dharma and moksa) and material (artha and kama), which are called Catur Purusartha and consist of two large, circulating segments – similar to the everlasting rotation of the Swastika.

Meanwhile, in the customary rituals of Balinese people, the Swastika assumes the role of an envoy that underscores faith in the supreme power of Ida Sanghyang Widdhi Wasa or the Almighty God. Applications of the symbol range from simply displaying the Swastika on facades of citizen’s dwellings during the days into Kuningan celebration, to the more meaningful Caru Tawur Agung or a full-scale ritual that aspires to harmonize the balance of the universe.

Other application includes the inscription of the Padma or eight-leaf Swastika on the bottom of water container used in baptism ritual of tutug tigang asih, to keep the baby safe and away from bad luck.